40. Eurythmy Performance

GA 277b/1920-01-17/p010 ·1920-01-17 · English MediumMedium alignmentSome paragraph re-numbering between this translation and the German original — the locus may slip by a paragraph or two.
Record: unknown. How this text was taken down (shorthand transcript, listeners' notes or manuscript) is not on record here. Unknown is not an assurance of a stenogram: check the edition's own notes before resting an argument on one word.

When we consider how the human being – especially the speaking human being – is actually an expression of an entire universe, it must be said that the very fact that we use the whole human being here as we would any other musical instrument, that we use the whole moving human being here as a means of expression for an art, In this way, the Goethean sense of what Goethe so beautifully says about man becoming artistic is fulfilled: when man is placed at the summit of nature, he in turn feels like a whole nature and brings forth a new nature from within. He takes order, measure, harmony and meaning together and ultimately rises to the fullness of the work of art. In order to produce a work of art, he must rise to the level of significance when he uses his own organism as an instrument, as a means of artistic expression. We believe that, although this eurythmic art is only a beginning, it can provide a starting point for a meaningful art form. What has been attempted here will develop more and more.

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Cite: GA 277b/1920-01-17/p010 · edition English